Private collectors are usually perceived with the suspicion and criticism inherent in the ignorant and are “favourite guests” in the tabloid press. It is the collectors, however, who have been able to buy, store and preserve works of art in the last 25 years, often at great cost and personal deprivation. Still, what they own remains hidden to the general public, save for occasional appearances of some objects in exhibitions. Collectors avoid talking about their possessions and prefer to show them anonymously. The reason: fear of misunderstanding, attack and theft.
– Mr. Rusev, what are the weaknesses of current law on private collections? What, in your opinion, should be changed?
– We can only talk about weaknesses and strengths of something created with constructive thought and will, rather than with anger, malice and hatred against the private collector, without even the most basic knowledge of the subject. It is not changes that are needed, but a new law that takes into account the complex specifics of cultural objects, a law on tax relief for people who buy art, a law that liberalises the art market, that encourages private owners to care for and preserve cultural objects… Last but not least, a simple and clear law written without prejudice and one that respects culture.
– Everyone knows you are a member of the Thrace Foundation founded by the great collector of Thracian treasures and allegedly the richest Bulgarian Vasil Bojkov. What do you think provoked the negative public attitudes to private collectors? Is it just the lack of understanding of how such objects are acquired?
– There are several reasons and they largely concern the national mindset and culture, and last but not least of the “lack of understanding” surrounding the acquisition of certain objects! As for the typical accusations, I can safely say that most works in private collections acquired “illegally” (especially by archaeological means) have literally been saved. Criminalising private collections is the manifestation of an envious and illiterate mindset, which shifts responsibility for the serious problem of storing and preserving the cultural heritage from state hands to the domain of the private collector.
– Why do you think it is said there is no art market in Bulgaria? If not, how do collectors acquire works?
– There is an art market! To be more precise, there is an anti-market, and we all share the blame for that. The state is guilty because it has left the galleries without money, and they, with all the reservations we have about galleries, have imposed stricter criteria! Private galleries, which mostly rely on a dozen or so well-known names, have no particular desire to set their own artistic line and behaviour! The galleries that show a flash of creativity are far and few between. The lack of loyalty and trust between the artist and the gallery is a problem that renders pointless one of the most important links in the art market. An artist cannot sell cheaply from their studio, while a gallery hikes up the price. Without a good presentation and without a guaranteed (even though that is relative) market, a gallery should not add a surcharge of 30-40, even 50%. The market in Bulgaria literally operates on a “whatever you ask and whatever they give” basis. What is more, with “classics” and “pseudo-classics”, ever-changing trends, ambitious “clients” without even basic understanding of art and the availability of crude fakes, which the government makes no effort to criminalise, we have this complete anarchy called the Bulgarian art market. In this “art market”, the collector has to deal with whomever they can – partly with galleries, with private owners, with intermediaries (art dealers) and a little with antique sellers.
– What must happen to create a regulated art market?
– Generally speaking, this can only happen by eliminating the negative reasons I mentioned and ensuring serious participation in the global art market through backing from state institutions and galleries, i.e. participation in prestigious events, exhibitions, auctions, etc. And finally dumping the concept of the home art stall.
Svetlin Rusev passed away on 26 May 2018.
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